Newsletter Issue #498: 03 Sep 2017

Our newsletters are sent out once a fortnight and are displayed here for archival purposes only. Some of the content will be outdated and some layout issues may be present in the translation from email to the web. We recommend that you subscribe to our newsletter for the best results!

September Newsletter

Hi everyone,

Welcome to September's newsletter!

I swear time goes a lot faster than it should sometimes. It only feels like last week that our last newsletter went out, and here we are again! There has been a lot of sunshine around lately, so that can only mean Spring is on the horizon, or, the last of winter is just teasing us!

We have a real juicy one of you guys this month. One of NZ's most loved metal radio show, The Axe Attack, hosted by our favourite Kiwi Metal Axeman himself, Paul Martin, recently celebrated its 30 year anniversary, which makes it New Zealand's longest running specialist music show! This is a huge achievement, and if you're a fan like me, you'll be pretty stoked too. Congrats to Paul and everyone behind the scenes that continue to showcase the kick ass metal scene of NZ and remind us how special metal music is.

Continuing on the theme of special things, we have some great features and interviews too. We have a chat to the men behind Wellington band, Sea Mouse and find out about Hardcore/Punk enthusiasts, Starving Millions, following the release of their new EP V. We also talk to Alexander Hallag of The Music is Talking.

Finishing up with all the latest news and views, this newsletter is a brilliant way to welcome in the coming Spring!

- Kerry and the muzic.net.nz team.

THE AXE ATTACK: 30 Years of Incredible Metal!

August 18 marked the 30th anniversary of New Zealand's longest running specialist music show.

The Axe Attack, a show dedicated to heavy metal and hard rock music, has become a household name for fans over its three decades of promoting the music that many people are afraid of.

To commemorate the occasion, host Paul Martin has a month’s worth of giveaways to dish out. “I'll be celebrating the international and local artists that have had an impact on the show from its conception in 1987, as well the new breed from 2017. There will be listener requests, Kiwi content and I'll have some great giveaways over the next four weeks including limited edition The Axe Attack t-shirts."

The show became a 24/7 stream on iHeartRadio in 2015 after being heard on different stations, and features a fresh show each week. Listeners can tune in anytime to listen on demand for their heavy metal fix.

David Brice, iHeartRadio New Zealand Content Director, says the success of The Axe Attack is down to Paul finding his niche in the music landscape but having the ability to keep the show fresh. “Releasing a new show every week shows Paul’s commitment to and expertise in the genre. Couple this with a platform that allows the freedom to play one style of music on a stream, and you have the beauty of iHeartRadio; there is something to suit everyone’s tastes.”

Martin says, “It's testament to the quality of the music, that the show has been around for so long. People who are into rock and metal aren't usually the fad-following types, who flit from genre to genre, trying to find their identity. People that loved Sabbath, Purple and Zeppelin 40 years ago are still into it. You can't ‘grow out’ of quality music. Every Halloween I host a Black Sabbath marathon called ‘Sabbathon’ that has turned into the biggest show of the year for The Axe Attack.”

“I get messages and calls from all sorts; from lawyers, accountants, farmers and bankers; from 70 year olds through to nine year olds. The music speaks to them all. It's hugely satisfying introducing new bands to my audience.“

A huge emphasis on New Zealand artists has made a significant difference to the local metal scene, with the show making a commitment to play at least 33% Kiwi artists.

“New Zealand has so much talent in this wide and wonderful genre and there’s slim chance of them ever getting on air on mainstream radio. I’ve taken it on as my personal responsibility to encourage these bands and get their music out to as many people as I can.”

Paul Martin is a musician and songwriter who plays bass guitar in Devilskin, who are touring New Zealand in October, and plays lead guitar and sings in World War Four. Paul is also a devoted family man, teaches guitar and has qualifications in industrial radiography.

SEA MOUSE

Sea Mouse is the solo project of renowned Wellington singer/songwriter Seamus Johnson. Live, Sea Mouse is an energetic 3 piece band, channeling the thunder and swagger of Jack White and Led Zeppelin. They answered the following questions for muzic.net.nz:

Q: Let’s start off by talking about the man behind Sea Mouse, Seamus Johnson. You’ve been quite present in the Wellington live music scene over the last few years. What are some of the more notable groups that someone may recognise you from?

Q: You’ve also managed to gain the supporting slots to many international bands such as Black Rebel Motorcycle Club?

A: Yeah. It’s funny who you end up playing for when you hang around a venue enough. Bodega was great for that. I was given the opportunities to play with some pretty awesome bands.

Q: So what motivated the formation of Sea Mouse?

A: Kickin out the jams! It’s a bunch of songs that have been hanging about for a while that didn’t fit the other projects enough. It felt like it was time to get them out. And now writing more to follow.

Q: There is a growing trend of groups forming with fewer members, often put down to cheaper touring costs, less conflict with the direction of the music, and a generally cleaner sound. What made you decide to go with a three-piece?

A: All those reasons in the question more or less. Paperscissors was a two piece I started because I got tired of band politics in Elston Gun. It’s just better. There’s so much more freedom and space as a two-piece, but there’s also a hole in that space. And you gotta fill it with bass.

Q: How would you describe your sound?

A: That’s everybody else's job. I just make the sounds. I mean sure, it’s obviously a big mix of everything I’m into and have played in the past, but that’s just it. It’s pretty vast. I guess we can call it blues rock if you really want to pigeonhole it.

Q: Of course you’ll want to talk about your debut album. There is quite a variety of styles throughout the 9-track album. Are there any tracks that you are especially proud of? Why?

A: Churches in the trenches. I like it cos it’s raw and unrehearsed. We did a few takes on the day and it was done. It feels like it's about to fall apart at a couple of points but that is good. I like all the tracks.

Q: How long did it take for the album to come about, from conception to pressing? What challenges did you face?

A: I think we started recording in 2015. I had some random ideas and I wanted to make an album that was like a mixtape. At that time I was building houses on Waiheke Island and I hadn’t been playing heaps of guitar or singing. So I felt a little out of practice. I also had to keep flying back to Wellington to track guitars and vocals etc so it was kind of stressful for me. Some of that definitely comes through I think, but an album should be a snapshot of a time. I’m not a fan of perfectly recorded albums. It’s the little mistakes and noises that you pick up on after the third listen that make it interesting and human.

Q: You recently performed a surprise show at Meow, how has the initial response been to the debut album?

A: Yeah that was a pretty ‘blink and you missed it’ show. But it was great. Those that were there had a sweet time. And I think we surprised a few people. There’s a lot more energy at the show than you might imagine from the album. The response to the album has been great though. We just wanted to get this one out, since there’s so much more music in the works, I didn’t want to hold onto it any longer. The album itself surprised some people too, as I said it’s a mix tape, but people haven’t been aware of that going into it. But I like that, as soon as you get comfortable, it changes tack. Playing fast and hard all the time get’s tiring and predictable. An album should surprise you.

Q: As well as being able to purchase a digital copy of the album through bandcamp and iTunes, you can purchase it on 12” vinyl. I notice no mention of CDs. Are these only available at shows? or have you avoided them for a reason?

A: There are no CD’s. Yet. I don’t know if it needs to be on CD. Maybe it does. To me, CD seems like a dying format. Perhaps I’m wrong and CD’s will become all retro and cool in 30 years or something. I don’t know. I do know that I haven’t purchased or played any CD’s in ages. I usually play music off my phone, turntable, or desktop which doesn’t even have a CD drive. I think physical is still an important thing to have though. It’s easy to lose the value of music these days with everything seeming ‘free’ when you’re streaming that’s why the vinyl. ...Having said that, the album is on all the platforms. So take your pick.

Will we be expecting some more upcoming shows to see the debut material live? What lies in the future of Sea Mouse?

Shit yeah. Shows are it for us. So keep your eyes peeled. More shows, here and abroad, more music, and maybe even some CD’s if you’re really that keen on them. We’ll see. The future is going to happen, you can’t change that. We’ll be there.

Website Links

STARVING MILLIONS

Starving Millions released their new hard-hitting EP V on September 1st. V showcases a more focused and progressive approach to a sound created through a love of Hardcore and Punk, taking influences from such bands as Gallows, Norma Jean and Touche Amore among others. The songs within are those of a band who have grown together as a unit and refuse to accept current local and world injustices. At a mere 13 mins of music this EP packs in 5 tracks with a punch and showcases the direction of where the band is taking their music.

The band will be debuting their new EP live to Australian audiences through the second half of September,and then November / December in New Zealand.

Dave answered the following questions for muzic.net.nz:

How did you become involved in music?

Waaaaay back during high school - dad had an old drum kit in the garage that I taught myself on listening to tapes - then joined some mates to form a band.

Which one of your songs are you most proud of, and why?

For this band I would say We Fan The Flames - just the way it came out really captured the vibe and really sums up the different facets of the Starving Millions sound I think - I originally wrote it for our new EP V, I but decided to record it earlier for the Churlington Split EP.

How would you describe your music to someone who hasn't heard it before?

We released our new EP V on 1 September, and we'll be off to tour Australia's east coast for 2 weeks. Over the next year... At least another EP or two and more international touring as well as the usual local ventures up and down NZ.

What NZ musicians or bands would you like to see more of, and why?

Always keen to see Hollywoodfun Downstairs - best spazzy noise hardcore I have seen, and even as a 2 piece now they still have a wall of sound! Also if Parents were still a band I would love to see them play again - perfect blend of chaos and well thought out songs.

What local albums have you been enjoying recently?

Yor Cronies - I Want to Quit and Sick Old Man - Tribunus Plebis.

What is your favourite NZ venue, and why?

Toss up between Valhalla in welly and Whammy in Aucks - both are run by awesome humans passionate about less mainstream music - have been playing both these venues for many years and there is just something about their dark, boozey, great sounding rooms that really make me feel at home.

Have you got any tips for dealing with nerves before a gig?

It used to be getting a few drinks in me, but more recently I have found just getting to the venue and hanging with the band is good, have a soundcheck always helps release some of the built up nervous energy.

How do you balance your music with other obligations; family, job etc?

Haha I don’t know if I would say it was balanced - but we all work full time to support our musical habits. A usual week for me I would be work followed by 1-2 rehearsals, at least 1 gig, 2-3 hours each day doing band related admin, design or audio work.

Where do you get your inspiration to create music from?

Listening to a wide variety of music and finding certain aspects that I like and morphing that into whatever musical project I am working on.

Do you have any advice for aspiring musicians?

Buy your own equipment, even if it’s not “top of the line” and don’t rely on other people to make things happen. Being predominantly DIY and self sufficient over the years really has offered a lot of freedom and satisfaction that may not have happened if my bands were more reliant on external assistance.

ALEXANDER HALLAG: Shh... The Music Is Talking

Alexander Hallag of The Music is Talking is an internationally published photographer originally from Seattle and New York City and who now resides in New
Zealand, specifically Wellington and Palmerston North. Alexander has
done a wide variety of photography and is probably best known for music
photography and capturing live music performances in particular. These
days, Alexander is focused on capturing live performances as well as
studio and promotional work for album covers.

He has photographed many international artists such as U2, Leonard Cohen, Black Sabbath, David Bowie, B.B King as well as many New Zealand artists such as The Black Seeds, Gin Wigmore, Lorde, Shihad, Six60, Tiki Taane, etc. His work has appeared in various publications such as The New York Times, Juxtapoz, Rip it Up, Red Bull Magazine, Groove Guide and NZ Musician to name a few. Alexander has recently self-published a 'Photo Book' called 'Shh The Music is Talking'.

Alexander has spent many hours in 'the pit' as it is called, at hundreds
of live gigs, if not more. As a live music photographer myself, I have
shared 'the pit' with Alexander at a number of shows in recent times.
When I was a newbie live music photographer starting out, I posted in a
Facebook group (HTBARP) that contains a large number live music
photographers globally (including most, if not all of the New Zealand
based folks) and I remember receiving a private message soon after from
Alexander offering to help me out if there was anything I needed to
know, which I thought was pretty decent of somebody to do, but at that
time I wasn't aware of his background and extensive experience.

Anyway,
on Sunday 30th July, I met with Alexander to conduct an informal
interview (below) and to catch up in general over lunch in a pleasant
Wellington eatery. This is something we don't generally get time to do
when we are engaged in our craft. It was also a great opportunity for me
to purchase his photo book, have it hand delivered and signed. :)

So, What attracted you to photography?

Perhaps not so
much an attraction, but a friend of my mother's asked me to make movies,
but to better understand direction he recommended that I shoot still
images in order to see the affects and the concepts of lighting. I kind
of fell into it by mistake, or as a by-product of a venture into
videography.

So, do you still make movies?

No, not so much anymore, mostly just stills.

When you photograph a show, do you stay for the whole event? Or do you only stay for the usual first three songs?

That
depends on a number of things... such as the shooting policy, whether I
have a ticket or not, whether a ticket is required, the artist,
publishing deadlines, etc. So, sometimes yes and other times no. There
are many variables that influence that decision such as these and
probably more.

What sort of equipment do you use? Do you have a go-to set-up?

As a Sony ambassador I shoot Sony gear exclusively. My typical gear setup is as follows

Primary

Sony Alpha A99 Mark 2 (full frame)Sony Alpha A77 Mark 2 (crop sensor)

Secondary/Backup

Sony Alpha A99 Mark 1 (full frame)Sony Alpha A900 (full frame)

Lenses

Sony 24-70mm f/2.8 Carl Zeiss
Sony 70-200mm f2.8

What has been the most challenging aspect of being a music photographer?

Making
great work. Making something special, something unique. Quality images
is what we strive for, well it's what I strive for and so making
something great, an image that people can look at and then get a sense
of what was happening at that time, or something that portrays the
emotion or effort, yeah. I guess in summary, I strive to make great
unique images.

What is your greatest memory since becoming a photographer?

This
is tough as there have been many. But if I were to choose one, I would
have to say shooting at Madison Square Garden. It was a very memorable
moment and one that I won't soon forget.

You’ve been able to
photograph some amazing bands in your time, is there anyone you haven’t
been able to shoot that you would drop everything to shoot?

I
don't really have a bucket list, but I have been very fortunate to shot
a number of great artists and some of them weren't necessarily great at
the time but have since gone on to become great.

Do you find
certain genres of music more exciting to photograph? How do the artists
and crowds vary between music types, from a visual perspective?

Certain
genres more exciting to photograph? Definitely!! *laughs* But I don't
have a preference. The variation in terms of the artist' delivery and
the crowd action is very broad even within the same genre of music.

The
transition into digital SLR cameras (and also mirrorless) has meant
that many people have been able to pick one up and call themselves a
gig/concert photographer. What do you think it is that separates a
professional (or experienced) photographer from an enthusiast?

Joe
Average doesn't look at all the detail, mainly. They're just seeing
"ROCKSTAR!" and click. Where as a pro-am photographer also sees rockstar
yes, but they separate that from their goal of having to make a great
image. So it doesn't necessarily matter who the artist is (for the
moment) because they are there to make great images regardless of who
the artist is. It generally isn't until after we shoot our 2-3 songs and
leave the pit do we think 'OMG I just photographed rockstar x" or
whoever.

What advice would you give someone who wants to become a music photographer

DO
IT!! This is a journey. Appreciate the journey. It isn't going to be
straight forward and there will be twists and turns along the way. Be
open to shoot anything. Learn the craft. Learn it for low light, learn
it for bright light, learn it for rain, learn it for all lighting
conditions. Talk to others. Don't be afraid to ask questions. Don't
think you know it all because none of us knows it all and we're
constantly learning. Be respectful and manners will get you far.

How
has social media affected you as a photographer?(good or badly) I
imagine you get a greater reach, but it also becomes much harder to
control unauthorised use of your product?

Good. More of a
reach? yeah. That's one thing I do like, the reach and the ability to
interact with people that we may never have otherwise without social
media. There is a guy I chat with weekly in the UK and it's really neat
to interact and share as we learn our craft. Similarly like what
Matthias (Hombauer) has achieved in terms of starting up the HTBARP (How
to be a Rockstar Photographer) community on Facebook which is magic.
Social media has definitely helped in that way. As far as unauthorised
use of media, yeah it happens and that's just part of the electronic
age. If you don't want your images out there, then don't put them out
*laughs* Sometimes I've had some band who haven't given me credit,
sometimes I email them and sometimes I don't, sometimes they fix it and
sometimes they don't. I suppose some time ago I would get bent outta
shape about it, but to be honest, in my experience most people don't
look at a watermark, no matter how nice it looks and then wonder if that
photog did any more. It's the quality of the work that gets you the
next job, usually. That said, it's always nice when an artist
acknowledges you.

What made you decide to release a photo book, and what was the process of self-publishing your own book?

I
was working in radio, playing all this cool music and I wanted to share
it with friends back home (USA) and not just in an audio sense. So, I
went to the bookshop and asked for a book on New Zealand music, so I
could send back home, but I found nothing! I found some books with
mostly text and some photos, but I didn't want to send a written thing, I
wanted to send a picture book and couldn't find any. But, the thought
to make one did not occur immediately. Some time later (in the shower) I
thought, I used to shoot music, why don't I make a photo
book? My first counter thought was that I hadn't shot in a long time (as
I was on a hiatus at the time from shooting anything) but I had a
'burning bush' moment after listening to a podcast given to me by my
flatmate at that time and in the podcast a photographer was saying 'if
you like concert photography? go with that'.

A week later another I had another 'burning bush moment after a
good friend of mine in New York sends me a message on Facebook saying
"I gotta talk to you!" So, I called him up and to cut a long story short
he said "You used to do music photography, you were good at it, you
should do it again!" It was the combination of those two 'moments' that
made me yeah 'Yeah, I am going to attempt to create a visual record of
at least the contemporary scene" and so I embarked on the journey from
there. You don't make a photo book to become rich. I wanted to make
something special.

Where and how can we get a hold of a copy?

Direct purchasing from here. There are approximately 30-40 copies left from the original 500 copies.

Alexander in Action A week before I conducted this interview, Alexander and I happen to be shooting at the same gig. Here are a few images I specifically took of Alexander in action up close shooting Ciarann from Bakers Eddy:

The event has been so popular in the local NZ Rock scene that the event’s promoter, Kingsley Smith, has regrettably had to turn away several bands.

Kingsley has 2 main mission goals for the RockFest: 1 goal is to raise money for the local Cancer Society, with all profits being donated; and the 2nd goal is to provide the local rock community with an event that goes off and draws a large crowd.

Some of New Zealand’s best songwriters and composers have been shortlisted for four prestigious awards to be presented at the 2017 APRA Silver Scroll Awards.

The APRA Maioha Award, the SOUNZ Contemporary Award, the APRA Best Original Music in a Feature Film Award and APRA Best Original Music in a Series Award will all be presented at an invite-only awards ceremony at the Dunedin Town Hall on Thursday, September 28.

- Top 5 finalists announced for 2017 APRA Silver Scroll Awards -

Five top acts have made the shortlist for the 2017 APRA Silver Scroll Award, recognising excellence in songwriting.

· Close Your Eyes by Bic Runga (written by Bic Runga and Kody Nielson).· Green Light by Lorde (written by Ella Yelich O’Connor, Jack Antonoff, and Joel Little). Published by Native Tongue Music Publishing, Sony/ATV Music Publishing Australia P/L, EMI Music Publishing Australia Pty Ltd.· Horizon by Aldous Harding. Published by Native Tongue Music Publishing.· Life of the Party by Chelsea Jade (written by Chelsea Jade Metcalf and Leroy Clampitt).· Richard by Nadia Reid. Published by Kobalt Music Publishing.

- 100 pianos to be donated to local schools -

Huawei New Zealand has announced that it will donate 100 Pianos to New Zealand primary schools in partnership with the Play it Strange Charitable trust.

Huawei’s 100 Pianos Project was unveiled at Rongomai School in Otara and will be open to schools nationwide between deciles 1-7. When Huawei’s founder and CEO, Mr Ren Zhengfei met with New Zealand Prime Minister, Bill English, in March he made the commitment as a core part of Huawei’s Corporate Social Responsibility programme in New Zealand.

Huawei New Zealand Director of Public Affairs, Andrew Bowater, says the 100 Piano’s Project was about inspiring the imaginations and creativity of young New Zealanders.

More Content on muzic.net.nz

Google Site Search

Custom Search

100% New Zealand Music
All content on this website is copyright to muzic.net.nz and other respective rights holders. Redistribution of any material presented here without permission is prohibited.Report A Problem